| The next song on the album uses similar production | | | | into the fourth track, "In My Math," frequency |
| technique. It starts off by introducing a reduced version | | | | oscillations can be heard flowing through the texture of |
| of the reggae song that will provide the background | | | | the piece. Various parts of the vocals (in both the rap |
| texture and rhythmic accompaniment. Max uses | | | | and the reggae parts) are constantly repeated, mixed |
| another track off "The Harder They Come" | | | | together, faded in and out, and dropped from their |
| soundtrack, "Shanty Town," in combination with the | | | | normal pitch to a low bass-heavy voice until the lyrics |
| Mos Def song "History" to create "History Town." The | | | | become unintelligible. The seventh track, "Mr. Universe" |
| song is possibly the catchiest track on the album, and | | | | starts off with something that sounds heavily |
| Max can be heard toying heavily with Shanty Town's | | | | computer-generated as well. Sounds of water |
| high-pitched voice to help update it to the more recent | | | | dropping into a can are time-stretched and faded from |
| hip-hop sound. Around one minute into the track, Mos | | | | your left ear to your right ear right before the rest of |
| Def's voice drops out to give way to the chorus of the | | | | the track comes through your headphones. |
| original "Shanty Town," highly modified. The track is | | | | The last track, "Hurricane Black," is a nicely laid back |
| mixed against itself, causing certain parts of various | | | | piece that starts off with something that sounds like an |
| words of the chorus to be repeated several times in | | | | early FM sound generator. The audible sidebands of |
| quick succession, adding to the hip-hop feel. Around | | | | the sound can be heard just before the relaxed, jazzy |
| 2:15 into the song, tambourines are sampled-one of the | | | | combo of reggae and hip-hop is introduced. Max uses |
| many examples of diversity of sampling used to make | | | | this technique of throwing in highly electronic sounds at |
| this piece more congruent. | | | | the beginning of his songs throughout the rest of the |
| Tannone also has a proclivity for dropping the beat out | | | | album. The song itself is a perfect, relaxing send-off to |
| of the song at certain times to allow one aspect of the | | | | an album that offers a wide scope of listening material. |
| song to be accented. The high-pitched male voice | | | | Without things like Max Matthews' invention of |
| from "Shanty Town" can be heard throughout the | | | | computer-generated sounds, or John Chowning's |
| song on its own, to be joined shortly later by a heavy | | | | invention of the FM synthesizer, such |
| beat that still holds the same foundation as the original | | | | computer-generated music as Mosdub would never |
| reggae beats. The overall effect is making a piece | | | | be possible. Computation surely plays a large role in |
| that blends together delightfully, while still holding the | | | | Max's production. Tannone presents a technological |
| essence of the original songs. | | | | production that should not be taken away from by the |
| Some of the songs sound much more modified, and | | | | sometimes-poor reputation that mash-up DJ's are |
| even sound like "computer music" at times. About 2:30 | | | | given. |